"George Jean Nathan" (1953), p. 61
Profiles (1990)
Letter to Sylvia Payne (24 April 1906), from The Collected Letters of Katherine Mansfield (1984-1996), vol. I
Bulletin of New York Academy of Medicine, Vol. IV (1928)
Original French: La critique est constructive, pas la délation. La liberté de la presse, ce n’est pas que n’importe qui écrive n’importe quoi sur n’importe qui. Il faut écrire en respectant les faits même quand ils sont moins excitants que le fantasme de ceux qui ont choisi de critiquer pour critiquer.
Interview with Le Figaro–September 2001 http://www.maroc.ma/fr/discours-royaux/interview-accord%C3%A9e-par-sa-majest%C3%A9-le-roi-mohammed-vi-au-quotidien-fran%C3%A7ais-%C2%AB-le
W. H. Auden, recorded in Alan Ansen (ed. Nicholas Jenkins) The Table Talk of W. H. Auden (London: Faber, 1991) p. 44.
Criticism
With Norton Mezvinsky.
Jewish Fundamentalism In Israel (1997)
“For the man who considers himself the best critic generally studies sound and unsound composition with equal interest, being no more greedy for lofty utterances to praise than for contemptible ones to ridicule. In this way technique, grandeur, and propriety in the use of the Latin language are particularly underrated by the armchair critics, who, with an insensibility which goes hand in hand with scurrility, and wishing to read only what they may criticize, cannot, by their very abuse of literature, be making a proper use of it.”
Nam qui maxume doctus sibi videtur, dictionem sanam et insanam ferme appetitu pari revolvit, non amplius concupiscens erecta quae laudet quam despecta quae rideat. atque in hunc modum scientia pompa proprietas linguae Latinae iudiciis otiosorum maximo spretui est, quorum scurrilitati neglegentia comes hoc volens tantum legere, quod carpat, sic non utitur litteris, quod abutitur.
Lib. 3, Ep. 14, sect. 2; vol. 2, p. 59.
Epistularum
"Anton Ego" in Ratatouille (2007)
Context: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talents, new creations. The new needs friends. Last night, I experienced something new; an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking, is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook". But I realize — only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.
Sādhanā : The Realisation of Life http://www.spiritualbee.com/spiritual-book-by-tagore/ (1916)
Context: In love, at one of its poles you find the personal, and at the other the impersonal. At one you have the positive assertion — Here I am; at the other the equally strong denial — I am not. Without this ego what is love? And again, with only this ego how can love be possible?
Bondage and liberation are not antagonistic in love. For love is most free and at the same time most bound. If God were absolutely free there would be no creation. The infinite being has assumed unto himself the mystery of finitude. And in him who is love the finite and the infinite are made one.
